Ralf Remshardt | University of Florida (original) (raw)
Ralf Remshardt, professor of theatre in the School of Theatre and Dance at the University of Florida, is a graduate of the Ludwig-Maximilians-Universität München (Munich, Germany), the Freie Universität Berlin, where he received an MA in German Literature and Theatre Studies, and the University of California at Santa Barbara, where he was awarded a PhD in Dramatic Art. He is a native of Berlin and first came to the U.S. on a Fulbright Scholarship.
Address: Gainesville, Florida, United States
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Papers by Ralf Remshardt
Intermedial Performance and Politics in the Public Sphere, 2018
Intermedial Performance and Politics in the Public Sphere, 2018
Theatre Journal, 2011
... What Fritsch proposed was that Ibsen is the undead of the modern theatre, a kind of dramaturg... more ... What Fritsch proposed was that Ibsen is the undead of the modern theatre, a kind of dramaturgical zombie or high priest of high moral seriousness that ... solemn Ibsenism meant not so much to parody it as to turn it inside out and against itself, exploding all of the coy nuances and ...
Théâtre et intermédialité, 2015
Envisioning Social Justice in Contemporary German Culture, 2015
Theatre Journal, May 2015
A review essay on four productions presented at Berlin's Foreign Affairs Festival in June/July 20... more A review essay on four productions presented at Berlin's Foreign Affairs Festival in June/July 2014: "Van den vos" by FC Bergman, "Ende einer Liebe" by Pascal Rambert, "Please, Continue (Hamlet)" by Roger Bernat and Yan Duyvendak, and "Praxis Makes Perfect" by Neon Neon and National Theatre Wales
Mapping Intermediality, 2010
Culture, Language & Representation , 2008
Intermediality in Theatre and Performance, 2006
Princeton University Library Chronicle, 2004
Essays in Twentieth-Century German Drama and Theatre, 2004
Comparative Drama, Apr 1989
Intermedial Performance and Politics in the Public Sphere, 2018
Intermedial Performance and Politics in the Public Sphere, 2018
Theatre Journal, 2011
... What Fritsch proposed was that Ibsen is the undead of the modern theatre, a kind of dramaturg... more ... What Fritsch proposed was that Ibsen is the undead of the modern theatre, a kind of dramaturgical zombie or high priest of high moral seriousness that ... solemn Ibsenism meant not so much to parody it as to turn it inside out and against itself, exploding all of the coy nuances and ...
Théâtre et intermédialité, 2015
Envisioning Social Justice in Contemporary German Culture, 2015
Theatre Journal, May 2015
A review essay on four productions presented at Berlin's Foreign Affairs Festival in June/July 20... more A review essay on four productions presented at Berlin's Foreign Affairs Festival in June/July 2014: "Van den vos" by FC Bergman, "Ende einer Liebe" by Pascal Rambert, "Please, Continue (Hamlet)" by Roger Bernat and Yan Duyvendak, and "Praxis Makes Perfect" by Neon Neon and National Theatre Wales
Mapping Intermediality, 2010
Culture, Language & Representation , 2008
Intermediality in Theatre and Performance, 2006
Princeton University Library Chronicle, 2004
Essays in Twentieth-Century German Drama and Theatre, 2004
Comparative Drama, Apr 1989
This volume is a collection of scholarly articles and interviews with intermedial artists working... more This volume is a collection of scholarly articles and interviews with intermedial artists working with the concepts of public sphere at the intersection of aesthetics and politics. It explores the response of socially-engaged artistic practices to the current crisis in politics and media. It also critically examines urgent issues such as rampant nationalism and populism, expanding neoliberalism, the refugee crisis, growing inosculations of corporate and cyber culture, and the ongoing geopolitical changes in the Middle East. Can intermedial performances reflect the present artistic and political dilemmas in Europe and beyond? The collection provides theoretical frameworks that interrogate the role that spectators as citizens can play in our mediatized world while focusing on the functions of immersion, participation, and civic engagement in contemporary performance and society. The collection provides analyses by international scholars from Europe, Asia, and the USA, covering global performance created in the twenty-first century. It also introduces interviews with internationally acclaimed intermedial artists and companies such as BERLIN, Rimini Protokoll, Dries Verhoeven, Akira Takayama, and Kris Verdonck.